"played at Baker's Keyboard Lounge in Detroit. Earlier, Tatum had selected and purchased for Clarence Baker the Steinway piano at Baker's, finding it in a New York showroom and shipping it to Detroit. Tatum and Ruby divorced early in 1955. They probably did not travel much together and she had become an alcoholic; the divorce was acrimonious. He married again later that year – Geraldine Williamson, with whom he had probably already been living. She had little interest in music, and did not normally attend his performances. Following a health warning, he stopped drinking in 1954 and lost weight. He"
"and down the keyboard Stride pianist Art Tatum (1909–1956) (a fan of early jazz pianist Lee Sims, who was himself a fan of the European ""Impressionist"" pianists such as Debussy and Satie, and hosted a radio program Tatum enjoyed) introduced more complex harmonies into his playing, and, like Fats Waller, would start songs with legato explorations of chordal intricacies, before launching into ""Swing"" (a touch also, apparently, inspired by Sims). Tatum was awarded a posthumous Grammy for his contributions to jazz, in 1974. True Stride pianists practiced a full jazz piano style that utilized highly creative, often flamboyant devices such"
"other two fingers would be playing something else on the white keys. He could do that in either hand"". In fact, he could also reach elevenths, and could play a succession of chords such as the illustrated examples at rapid tempos. Jazz historian and commentator Ira Gitler declared that Tatum's ""left hand was the equal of his right."" He used double-time stride playing, where his left hand alternated between playing bass notes (or tenth intervals) and mid-range chords at high speeds well over 300 beats-per-minute, in showcase recordings such as ""I Wish I Were Twins"", ""The Shout"", and ""Elegy"". He"
"said, ""When Tatum played 'Tea for Two' that night I guess that was the first time I ever heard it really played."" Tatum's first solo piano job in New York was at the Onyx Club. He played a mix of ragtime, one-step, and standard pieces, plus stride and snatches of classical music. He recorded his first four released solo sides, for Brunswick Records, in March 1933: ""St. Louis Blues"", ""Sophisticated Lady"", ""Tea for Two"", and ""Tiger Rag"". The last of these was a minor hit, impressing the public with its startling tempo of approximately 376 (quarter note) beats per minute,"
"Tatum frequently used dissonant major and minor seconds. He had a strong, swinging pulse, highlighted with cadenzas that swept across the entire keyboard. One of his innovations was his extensive use of the pentatonic scale. His protean style combined stride, jazz, swing, boogie-woogie, and classical elements. Saxophonist Benny Green wrote that Tatum was the only jazz musician to ""attempt to conceive a style based upon all styles, to master the mannerisms of all schools, and then synthesize those into something personal. He was playful, spontaneous, and often inserted quotes from other songs (typically, not from jazz compositions) into his improvisations."
"Art Tatum to Duke Ellington and Oscar Peterson, the stride piano, an evolution of ragtime, a genre with which I got in touch when I was twenty, and I immediately loved it. I later tried to mix this genre with my classical music education and with the Italian vocal style"". Talking about the lyrical content of the song, Gualazzi explained that it is based on the two most important ingredients to enjoy life, madness and love. Gualazzi performed the song for the first time on 16 February 2011, during the second night of the 61st Sanremo Music Festival. After qualifying"
"is recommended for inclusion in medium-sized or larger public libraries and all academic libraries by the Music Library Association in ""A Basic Music Library: Essential Scores and Sound Recordings"". The Tatum Group Masterpieces, Volume Eight The Tatum Group Masterpieces, Volume Eight is an album by pianist Art Tatum and tenor saxophonist Ben Webster, with Red Callender on double bass and Bill Douglass on drums. The 1956 session was originally released in 1958 on a Verve Records album produced by Norman Granz, but Granz re-acquired the masters in the 1970s after the album was allowed to go out of print. He"
"sometimes inverted the normal left-hand stride technique: playing the chord first, then the single note higher up the keyboard. Tatum used a relatively flat-fingered technique compared to the curvature taught in classical training; a 1935 observer wrote that, when playing, ""Tatum's hand is almost perfectly horizontal, and his fingers seem to actuate around a horizontal line drawn from wrist to finger tip."" Composer/pianist Mary Lou Williams said: ""Tatum taught me how to hit my notes, how to control them without using pedals. And he showed me how to keep my fingers flat on the keys to get that clean tone."""
"Master's thesis, ""Timing Is of the Essence"", published in 1993, and is named after the influential jazz pianist Art Tatum, ""whose tatum was faster than all others"". Tatum (music) A tatum is a feature of music that has been variously defined as: ""the smallest time interval between successive notes in a rhythmic phrase"", ""the shortest durational value [...] in music that [is] still more than incidentally encountered"", ""the smallest cognitively meaningful subdivision of the main beat"", and ""the fastest pulse present in a piece of music"". ""In Western notation, tatums may correspond typically to sixteenth- or twenty-fourth-notes"", or thirty-second notes."
"a saxophone player who from 1932 specialised in flute. He recorded flute solos with Benny Carter and with Spike Hughes in 1933, and played and recorded with the Chick Webb band for several years, soloing on flute on tracks such as ""Sweet Sue"", ""Down Home Rag"" and ""I Got Rhythm"". Flutes of many kinds have been used in jazz music. The modern Boehm system transverse concert flute is commonly used in jazz playing; other members of the same family are also heard. The piccolo is not common in jazz, but has been used by players such as Anthony Braxton and"
"– he had greater rhythmic flexibility when playing at a given tempo, more behind the beat swing, more diverse forms of expression, and he employed far fewer quotations than earlier in his career. Musicologist Lewis Porter identifies three aspects of Tatum's playing that a casual listener might miss: the dissonance in his chords; his advanced use of substitute chord progressions; and his occasional use of bitonality (playing in two keys at the same time). There are examples on record of the last of these going back to 1934, making Tatum the farthest harmonically out of jazz musicians until Lennie Tristano."
"of both""), the ""lasso d'amore"", the double-reed slide music stand, which he described as having ""a range of major third and even less expressiveness,"" the ""tuba mirum"", a flexible tube filled with wine, and the ""pastaphone"", an uncooked tube of manicotti pasta played as a horn. Further invented instruments of his include the ""pumpflute"" (an instrument that requires two people to play: one to pump, and one to flute) and the ""proctophone"" (a latex glove attached to a mouthpiece, and ""the less said about it, the better""). The ""überklavier"" or super piano, with a 15 octave keyboard ranging from sounds"
"it is typically considered today, was well within it in the era of his prominence. Nevertheless, Sims influenced at least one notable jazz figure: Art Tatum listened to Sims' radio broadcasts, and acknowledged Sims as an important influence on his musical development. In particular, the exploration of a song at its outset in a legato style, along with ""Debussy-esque"" chords, prior to launching into ""bouncier"" tempos and rhythms, is a device Sims often employed, that can be heard on many of Tatum's recordings. Lee Sims Lee Sims (April 30, 1898 - May 7, 1966) was an American pianist, composer, record"
"facial expression. The apparently effortless gliding of his hands, even during virtuosic passages, stunned his contemporaries. Fellow pianist Hank Jones said he had a style that seemed effortless. Pianist Chick Corea commented on his touch: ""Art Tatum is the only pianist I know of before Bill [Evans] that also had that feather-light touch – even though he probably spent his early years playing on really bad instruments."" Tatum could maintain these qualities of touch and tone even at the most rapid tempos, when almost all other pianists would be incapable of playing the notes at all. Using self-taught fingering, including"
"changes to make the tune sound more contemporary or progressive. Art Tatum was a pioneer of reharmonization, and later on John Coltrane, Miles Davis and Bill Evans were among the first to seriously explore its possibilities, and since then the technique has become an essential tool for the jazz musician and jazz arranger. One of the most common techniques in jazz reharmonization is the use of substitute chords, through a technique known as tritone substitution. In tritone substitution, a dominant chord is replaced by another dominant chord a tritone above its tonic. This technique is based on the fact that"
"1935 with the unusual ensemble of a string quartet, a jazz rhythm section, and Shaw on clarinet and saxophone. Although not Third Stream in conception, pianist Art Tatum drew on classical technique and recorded jazz versions of short pieces by European composers Antonín Dvořák, Jules Massenet, and Anton Rubinstein. A fusion of jazz with contemporary classical music came from the pen of Pete Rugolo, chief architect of the Stan Kenton Progressive Jazz Orchestra from 1947 to 1948 and the Innovations in Modern Music Orchestra of 1950 and 1951. A student of Milhaud, Rugolo studied the scores of Debussy, Ravel, and"
"the treble was not to avoid integrating the hands, which is essential to both a solo and accompanying technique. These formed the basic small ensembles that have dominated jazz since the bebop era (after swing). Before Powell, Art Tatum and Earl Hines had also somewhat explored independent homophony closely resembling later piano playing. The pianist's time was especially solid. So much so, that he was not dependent on his accompanists. Powell dictated the time when he played, in particular throughout the strength of the eight-notes in his right hand, essentially participating in the time-keeping with the bassist and drummer. This"
"Quartet. A wide variety of ethnic and other flutes have been used in jazz at times. Roland Kirk played bamboo flutes and nose flute, and Yusef Lateef used wooden and bamboo instruments. Theodosii Spassov plays jazz kaval. Shakuhachi was used in Tony Scott's ""Music for Zen Meditation"" in 1964. A single track on ""Live at the Blue Note"" by Dave Valentin lists instruments including concert flute, bamboo flutes, pan pipes, Peruvian bamboo bass flute, porcelain flute, Romanian pan flute and assorted whistles. Musicians who have usually or occasionally performed on jazz flute include Eric Dolphy, Sam Rivers, Charles Lloyd, Joe"
"chord progression. The clarinet is a woodwind instrument with a single-reed mouthpiece. A clarinet player is known as an clarinetist. Originally, the clarinet was a central instrument in jazz, beginning with the New Orleans players in the 1910s. It remained a signature instrument of jazz through much of the big band era into the 1940s. Larry Shields was the clarinetist for the Original Dixieland Jazz Band, the first jazz band to record commercially in 1917. The American players Ted Lewis and Jimmie Noone were pioneers of the instrument in jazz bands. The B soprano clarinet was the most common instrument,"
"Lateef's family auctioned off many of his instruments, in the hopes that they would continue to be played. Woodwind player Jeff Coffin purchased Lateef's main tenor saxophone as well as his bass flute. Yusef Lateef Yusef Abdul Lateef (born William Emanuel Huddleston; October 9, 1920 – December 23, 2013) was an American jazz multi-instrumentalist, composer, and prominent figure among the Ahmadiyya Community in America. Although Lateef's main instruments were the tenor saxophone and flute, he also played oboe and bassoon, both rare in jazz, and also used a number of non-western instruments such as the bamboo flute, shanai, shofar, xun,"
"Farrell, Herbie Mann, Yusef Lateef, Dave Valentin, Jerome Richardson, Roland Kirk, Frank Wess, Hubert Laws, James Newton, Moe Koffman, Paul Horn, Brian Landrus, Nestor Torres, Lew Tabackin, and Jeremy Steig. Jazz flute Jazz flute is the use of the flute in jazz music. While flutes were sometimes played in ragtime and early jazz ensembles, the flute became established as a jazz instrument in the 1950s. It is now widely used in ensembles and by soloists. The modern Boehm system transverse concert flute is commonly used in jazz playing; other members of the same family are used, such as the alto"
"music was influenced by Bud Powell, said in an interview with All About Jazz: His playing of melodic lines owed greatly to Billy Kyle, and his accompaniments to horn solos owed most to the style of Earl Hines. At other times, Powell's accompanying recalled stride and, on occasion, the graceful approach of pianist Teddy Wilson. His comping often consisted of single bass notes outlining the root and fifth. He also used voicings of the root and the tenth, or the root with the minor seventh. Powell was greatly influenced by Art Tatum early in his career and more so by"
"to become a classical composer was shot down by the harsh reality of a black man trying to make it in the classical world, which at that time was almost completely white. Strayhorn was then introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19. These musicians guided him into the realm of jazz where he remained for the rest of his life. His first jazz exposure was in a combo called the Mad Hatters that played around Pittsburgh. Strayhorn's fellow students, guitarist Bill Esch and drummer Mickey Scrima, also influenced his move towards jazz,"
"of jazz. In the process, they helped set the stage for bebop. In 1939, Duke Ellington discovered virtuoso young bassist Jimmie Blanton and hired him into his Orchestra. Blanton revolutionized the bass as a featured instrument in the band, until he tragically left the band in late 1941 due to terminal tuberculosis. Towards the end of the 1930s the roles of the piano, bass, and drums in the rhythm section changed significantly under the influence of the Count Basie Orchestra. Early swing drumming relied heavily on the bass and snare drums, with a secondary role for the high hat cymbal"
"Art Tatum, supported by bassist Red Callender and drummer Bill Douglass. ""Coleman Hawkins Encounters Ben Webster"" with fellow tenor saxophonist Coleman Hawkins was recorded on December 16, 1957, along with Peterson, Herb Ellis (guitar), Ray Brown (bass), and Alvin Stoller (drums). The Hawkins and Webster recording is a jazz classic, the coming together of two giants of the tenor saxophone, who had first met back in Kansas City. In the late 1950s, he formed a quintet with Gerry Mulligan and played frequently at a Los Angeles club called Renaissance. It was there that the Webster-Mulligan group backed up blues singer"
"Turner on vocals. Informal performances of his playing in 1940 and 1941 were released after his death on the album ""God Is in the House"", for which he was awarded the 1973 Grammy for Best Jazz Performance by a Soloist. He was, though, able to make an adequate living from his club performances. Most of 1941 was spent in the eastern United States; in contrast, he was back in California for much of 1942. His forming the Art Tatum Trio in 1943 was attributable to a mix of fortune and being unable to get sufficient work as a solo pianist."
"Tatum performances by rote, though few could compass his technical range or re-create his inimitable, plush tone."" ""Other musicians, among them Charlie Parker, were inspired by Tatum's technical accomplishments to bring a similar virtuosity to their own instruments."" When newly arrived in New York, Parker worked for three months as a dishwasher in a Harlem restaurant where Tatum was performing and often listened to the pianist. ""Perhaps the most important idea Parker learned from Tatum was that any note could be made to fit in a chord if suitably resolved."" Fellow bebop musician Dizzy Gillespie was also affected by Tatum's"
"instrument, and thus part of the clarinet family, but is played with finger holes, like a flute, rather than with valves like a saxophone or modern clarinet. In the Hornbostel–Sachs classification system, it is among the 422.211.2 subsection of reed aerophones. The instrument was invented by Nolan Hatcher and Craig Nutt of Alabama (members of the Raudelunas art collective, and the experimental jazz bands the Ron Pates Debonairs and the Blue Denim Deal) at least as early as 1979, when it was used on their duet album ""Dinosaur Time"". It has also been used in recorded experimental and jazz works"
"church music, including through the Grace Presbyterian Church that his parents attended. He also began playing the piano from a young age, playing by ear and aided by an excellent memory and sense of pitch. Other musicians reported that he had perfect pitch. He learned tunes from the radio, records, and by copying piano roll recordings. In an interview as an adult, Tatum rejected the story that his playing style had developed because he had found ways to reproduce piano roll recordings made by two pianists. As a child he was also very sensitive to the piano's intonation and insisted"
"Donald Lambert Donald ""The Lamb"" Lambert (12 February 1904 – 8 May 1962) was an American jazz stride pianist born in Princeton, New Jersey, perhaps best known for playing in Harlem night clubs throughout the 1920s. Lambert was taught piano by his mother but never learned to read music. For his particularly rapid left hand striding technique, he was a formidable opponent in cutting contests. Lambert is also notorious for an occasion on which he challenged Art Tatum at a jazz concert where other famous players were present. Lambert's discography is very sparse: the only commercial recordings under his name"
"interest in the lighter side of music; he purchased his first alto saxophone at the age of 16. This was unique as it was an instrument made with plastic by the name of Grafton Acrylic. This was soon traded in after a 2-year period for the best instrument on the market at the time – a Selmer Mark VI Alto which he still owns. This instrument is now rated as the Stradivarius of saxophones by experienced players. A Dearmann baritone saxophone was also added to his collection of instruments which opened the market for him in many big bands of"
"instruments and saxophones) and be heard clearly on acoustic recordings. George Gershwin's ""Rhapsody in Blue"", in Ferde Grofe's original jazz-orchestra arrangement, includes tenor banjo, with widely spaced chords not easily playable on plectrum banjo in its conventional tuning(s). With development of the archtop and electric guitar, the tenor banjo largely disappeared from jazz and popular music, though keeping its place in traditional ""Dixieland"" jazz. Some 1920s Irish banjo players picked out the melodies of jigs, reels, and hornpipes on tenor banjos, decorating the tunes with snappy triplet ornaments. The most important Irish banjo player of this era was Mike Flanagan"
"the York University jazz program and was the Chancellor of the university for several years in the early 1990s. He published jazz piano etudes for practice. He asked his students to study the music of Johann Sebastian Bach, especially ""The Well-Tempered Clavier"", the ""Goldberg Variations"", and ""The Art of Fugue"", considering these piano pieces essential for every serious pianist. Among his students were pianists Benny Green and Oliver Jones. He was influenced by Teddy Wilson, Nat King Cole, James P. Johnson, and Art Tatum, to whom many compared Peterson in later years After his father played a record of Tatum's"